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 Hollywood Movies Overview 

Esoteric Hollywood Movies     From: Vigilant Citizen

During the last years, a new trend appeared in Hollywood: secret societies being at the center of movie intrigues.

Some might find this surprising since secret societies are supposed to be… well… secret. Many people in the movie industry are part of those Brotherhoods so what is the reasoning behind this?

To Conclude: The trend of seeing secret societies in books and movies is not about to end.

These works are now appearing as a result of the democratization of information, which allows regular people to access information which was previously inaccessible. These movies serve the same purpose as occult symbols: to reveal and to conceal.

They reveal to the initiates while they mislead the profane.

Hollywood movies have been used to promote numerous agendas such as the Vietnam war, the fear of Communism, the fear of Islamic terrorism, the promotion of American values, etc.

The movies analyzed above simply promote a new agenda, which is disinformation about secret societies.

Keyhole visions into what’s going on behind the scenes     From: Female Illuminati

People establish and join secret societies because they seek power. Once they've achieved great power as well as wealth, they sometimes want to brag about it and let others know about their special status. To further this desire, members of secret societies - from Jesuits to Satanists - make use of the media. Highly financed movies are made to communicate to us on a non-verbal level. These movies are often ostensibly based on the books of commissioned writers, themselves lower-level agents of powerful secret societies.

Hollywood movies occasionally provide us with keyhole visions into what’s going on behind the scenes; although not enough for laymen and symbolically illiterate people to decipher and understand. That’s why so many people remain ignorant about secret societies and their ways. However if we do a little serious research, it becomes easier to see what is going on. This process is occasionally helped by whistle-blowing movies from Hollywood and other media orgs, movies such as Brotherhood of the Bell, To the Devil a Daughter, The Devil Rides Out, The Omen, Bladerunner, Freejack, Judge Dread, Fifth Element, Tombraider, The Formula, James Bond, The Da Vinci Code, National Treasure, Skulls, Eyes Wide Shut, and so on. As we said, perhaps we are deliberately BEING TOLD what is going on by the elites themselves. It’s an intriguing thought.


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Excerpts various Hollywood movies are published here for educational purposes only, and (hopefully) within the guidelines of "Fair Use".1






transcendencel poster 250

Dr. Will Caster (Johnny Depp), the world's foremost authority on artificial intelligence, is conducting highly controversial experiments to create a sentient machine. When extremists try to kill the doctor, they inadvertently become the catalyst for him to succeed.

Will's wife, Evelyn (Rebecca Hall), and best friend, Max (Paul Bettany), can only watch as his thirst for knowledge evolves to an omnipresent quest for power, and his loved ones soon realize that it may be impossible to stop him.

Transcendence (2014) – Esoteric Analysis    From: Jay's Analysis

Transcendence is the ultimate transhumanist film to date.

transcendence 250

Convalescence would have been a better name. The film begins with some cataclysmic future event that has caused the collapse of civilization to a pre-electrical state. Rewind a few years, and we see Johnny Depp as Dr. Will Caster, a scientist who specializes in artificial intelligence on the verge of discovering the final key to mapping the human mind so it can be downloaded onto a floppy disc. Dr. Caster calls this point of singularity “transcendence,” where man will finally overcome his bodily limitations and load himself up to Youtube. Following a presentation at a tech conference on how man will create “god,” Dr. Caster is mortally wounded by a radical anti-tech Luddite group, RIFT (Revolutionary Independence From Technology), leading to his desire to be the first willing test subject of human AI. Simultaneously, attacks on AI labs occur nationwide, prompting FBI involvement. Dr. Caster, as you might guess, is successfully downloaded into a computer, leading to an exponential growth in his intelligence and power enabling him to become a ghost in the machine accessing infinite data.

transcendence 2014 poster 240
Johnny Depp is Max Headroom.

After becoming Max Headroom, Caster hacks into the supercomputer PINN (Physically Independent Neural Network) he formerly worked on to track and identify all the members of RIFT globally The true reveal here is not that Johnny Depp can be placed on a thumb drive like Scarlett in Lucy, but that what is real are the NSA supercomputers that can literally track anyone, anywhere through AI, just like PINN can in the film. As I have written many times, the NSA supercomputers exist to do this very thing, ultimately achieving real-time, 3D modelling of all events. NSA programmer William Binney recently revealed to the mainstream what had been known for a long time to alternative media: The purpose of all this tech surveillance and grid has nothing to do with terrorism, and everything to do with AI and panoptic population control.

The Guardian recently reported on Binney:

“At least 80% of fibre-optic cables globally go via the US”, Binney said. “This is no accident and allows the US to view all communication coming in. At least 80% of all audio calls, not just metadata, are recorded and stored in the US. The NSA lies about what it stores.” The NSA will soon be able to collect 966 exabytes a year, the total of internet traffic annually. Former Google head Eric Schmidt once argued that the entire amount of knowledge from the beginning of humankind until 2003 amount to only five exabytes. “The ultimate goal of the NSA is total population control”, Binney said…“The NSA is mass-collecting on everyone, and it’s said to be about terrorism but inside the US it has stopped zero attacks.”

As is usual, the ridiculous pseudo-philosophical question is raised in this kind of film comes to the fore – is Max Headroom “self-aware”? Here, to be “alive” has been replaced with a psychological and ambiguously loaded philosophical concept “self-aware,” instead of the classic idea of the soul. Individual man is no longer viewed as an embodiment of human nature with psyche, nous or mind, but as a single entity, a body, with mind or psyche being collapsed into body (mind is brain). With these presuppositions, it is only rational to conclude consciousness is purely a series of algorithms. Since fMRI scans can image the energy waves emanating from the brain, the brain is nothing more than these recorded sensory impressions, like an image on film.

b b b b boring

Regular readers will immediately see the fallacy here, where once again the entire premise of all transhumanism and enlightenment mythology is the presupposition that “man” is a body with a blank slate video recorder (brain). If that’s all man is, then these electrical impulses can be mapped and put into an algorithm, and thus transferred to a hard drive. In logic, this is called the fallacy of composition, wherein what is true in part is assumed to be the case for the whole. Since man’s mind does record experience like a computerized camera, well then man must just be a mobile computer camera. What this ignores and merely moves back a step is the perennial philosophical question Plato raised long ago – what is it you are referring to when you say “man”? For strictly empirical philosophy, there can be no universals. And yet the entire metaphysical superstructure of how it’s even possible to build a computer at all, the preconditions for a computer’s possible existence, are based on the diametrically opposite philosophies of Enlightenment empiricism, materialism and scientism.

Just like Lucy, Transcendence wants viewers to think these are supremely deep questions that, instead of actually being based in reason or real science, fly off into the realm of absurd myth. Stop and consider for a moment how similar the fairy tale of a genie in a bottle is to the idea of Scarlett or Johnny being downloaded into a thumb drive. Put in this perspective, how laughable is it when worshipers at the scientistic cult altars mock us for being “superstitious”? Ultimately, the film doesn’t deserve a long, in-depth analysis, as the rest of the plot amounts to Caster erecting an underground super tech facility to build himself a new body. So, like Lucy, man achieves godhood and masters nature through nanotech. As one perceptive friend said of Lucy that equally applies here, “This is the kind of film stupid people think is ‘smart.'” Further, the bad guys are the backwards humans who are afraid of the dangers of technology – and they also have….guns! The good guys are the scientists who want to create a utopia. If we could just be evolved enough to get past guns and tribalism, why we could become gods! Yet do you really think all those underground supercomputers and all that nanotech wizardry is being developed to make everyone a god, as if it will be doled out in a government cheese line? Given the colossal lies the establishment foists upon the public daily, are you truly that stupid?

The only reason the film should be analyzed is because it is the first film completely taken up with the notion of transhumanism, aside from perhaps 2001. It is also very honest about its point – man creates his own god, since theology is nothing more than man making up deities. And it turns out in the storyline that the superbeing really was Dr. Caster (a point that had been doubted), because the great climax is that he recycled himself and his chick into a nanotech puddle, where they can both reside in their home garden. If it wasn’t a description of a film plot, readers would accuse me of being stoned in writing that, but one has to wonder – is Lucy just this same film redone? This time around, instead of being stuck in a stuffy plastic hard drive, you can download yourself into a puddle in a garden. It’s sooooo zen, maaaaaan. The real message here is the continued willingness of man to believe in utter lies and nonsense that flies in the face of the metalogic that undergirds man’s actual tech logic. And in denying metalogic, man ends with the conclusion that he is his own god in potentia, just waiting to come to perfect tech gnosis through which he can become the deus ex machina, and then irrationally dissolve into the Absolute. In conclusion, Transcendence is just the tired, age old pagan psychodrama retold over and over, like the meaningless cyclical metaphysic that forms its narrative foundation.




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